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2000 AD Covers Uncovered – Mark Montague Gets To Kiss The Axe

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week we welcome Mark Montague to the esteemed ranks of cover artists for the Galaxy’s Greatest.

2000 AD Prog 2215 features Mark’s very first cover and he’s absolutely hit the ground running with a stunning rendition of Slaine doing what Slaine does best, as he comes up against the Dragons of the Trojans. You can see more stunning Slaine artwork inside the latest Prog with Leonardo Manco’s gorgeous work on Pat Mills’ Slaine: Dragontamer.

Mark’s name first appeared in 2000 AD with his 2018 winning entry for the very first 2000 AD Art Stars competition, the incredible competition that regularly gives you the chance to see your art inside a future issue of 2000 AD!

His winning Art Stars entry, featuring a captured Dredd, appeared in the Prog as a Star Scan, the pin-up page that’s been graced by some of the finest artists of 2000 AD history, including Brian Bolland, Brett Ewins, Brendan McCarthy, and so many more!

And now he’s back with a debut cover that’s already setting a high bar for the best cover of the year – and we’re only into January! It’s an absolute classic Slaine and Mark was thrilled to get the gig!

Mark Montague: Tharg contacted me & asked if I’d like to do a cover for 2000 AD. I felt thrilled and honoured to be deemed worthy of contributing to the galaxy’s greatest comic.

Tharg wanted a picture of Slaine, which would depict him up close, dominating the cover, with a dragon approaching from the background. I did 3 prelims sketches for Tharg to chose from. I tried different poses for Slaine but the first one I drew, seemed to work the best, so I just concentrated on the dragon poses.

Once a prelim was approved, I did a colour rough, which I would use for my colour palette.

I’ve found that knowing the overall colour scheme a painting, speeds up my work flow by not having to play around & experiment with colour, until I get something that I like, which could mean that I might miss a deadline. 

The next thing was to draw the picture in tighter detail. I spent most of my time getting the drawing correct, because I don’t want to be making major corrections once I start painting. It’s easier to correct a drawing, than trying to colour match a repainted arm or leg. There will still be corrections towards the end but hopefully they will only be minor ones.

I started painting the background first, as this will inform how the colours of the environment will affect the colours on the characters. I masked out the characters & went very gestural with the paint brush.

Once I finished the painting, I left it for a day & then looked at it again with fresh eyes, to see if there were any changes that needed doing to it. There were a few corrections but they were very minor & then I sent the finished piece of work off to Tharg.

And that’s that! The making of a gorgeous looking Slaine cover all done.

Thank you to Mark for giving us that glimpse behind the scenes. And we’ve no doubt that it won’t be too long before we see more 2000 AD covers from this very talented artist.

It’s not the first time Mark’s delivered the goods with Slaine though, as his second Star Scan appeared in 2000 AD Prog 2181, showing us all the promise and talent that comes good with this first cover.

For more, go and read the interview Mark gave us back in 2018 after winning the inaugural 2000 AD Art-Stars competition with the piece below, a captured Judge Dredd in the clutches of Brother Morgar and the Brotherhood of Darkness from The Cursed Earth saga.

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2000 AD Covers Uncovered – Neil Roberts gets Vexplosive

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week, we have the return of artist Neil Roberts with an action-packed cover to Prog 2214, featuring Proteus Vex jumping into action. Michael Carroll and Jake Lynch’s sci-fi spectacular continues inside with the latest episode of The Shadow Chancellor, along with more from Judge Dredd, Hershey, Slaine, and Durham Red in a Prog full of Ghafflebette adventures and Scrotnig sci-fi action!

2000 AD Prog 2214 is out right now and you can get it everywhere that great comics are sold, including the 2000 AD web shop.

Neil Roberts has been making these stunning 2000 AD covers for a while now and this is yet another fabulous looking thing that is shouting out from the shelves of your local newsagent right now.

Neil sent over a couple of images in the making of it all, but first, it’s a moment of thinking about influences…

NEIL ROBERTS: I wanted my cover for Proteus Vex to lean heavily in to the artistic influences of the strip. Henry Flint, Moebius, Shaky Kane with a dose of Mick Austin and Wally Wood – all brilliant and influential and also a delightfully eclectic mix.

Roberts’ influence board for the Proteus Vex cover
From the top, Shakey Kane, Moebius, Henry Flint, and then bottom row Mick Austin and Wally Wood.

That is a wonderfully eclectic mix of influences right there. And yes, you can really see them all in the cover, not to mention seeing them in the pages of Proteus Vex.

Okay, back to Neil…

NEIL ROBERTS: I was guided by intuition, my thumbnail inspired by panels from the strip.

Tharg approved it and I was off, painting my way to the deadline!

I hope I’ve done those artists some justice in adding their influences into the piece, hopefully people out there like it as much as I had fun working on it.

Here’s Neil’s rough of the cover… although this is yet another one of those moments where the artist’s idea of just what contributes a rough is wildly at odds with what us normal, non-artist types would ever consider what we’d mean by rough. I mean, just look at this and think about what sort of thing you’d be able to muster as a ‘rough’…

After the rough (well, he calls it rough anyway) stage, time to get everything together and get the finishes and inks and tighten it all up, with it all looking like this…

Thank you so much to Neil for taking the time out to show us his influences and his process work here.

If you want to see more, you can find him on Twitter, see his Artstation site here, and catch his work on the covers of Games Workshop’s New York Times best selling Horus Heresy novels and other series, as well as cover art for Judge Dredd novels, Commando Comics, historical magazines and various video games and TV/ film productions. And, of course, we’ll be looking forward to more from him on the cover of a Prog sometime soon!

And finally, just a quick look at Neil’s one and only interior work at 2000 AD, Prog 1678 and Chrono-Cabbies, a Time Twister written by Alec Worley…

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Covers Uncovered – Nick Percival Ssssleighs With Megazine 427

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

With the final Judge Dredd Megazine of the year, issue 427, Nick Percival shows us just what happens when poor ol’ Father Christmas comes to empty his sack on Deadworld… no spoilers needed, it doesn’t go well…

Megazine 427 comes out on 16 December and you can get it right here at the 2000 AD web shop. Look for the wraparound cover with Ssssanta getting ssssleighed.

Inside, you can find something suitably seasonal with Judge Dredd: He Sees You When You’re Sleeping by Rory McConville and Agustin Padilla, the continued exploration of an alt-universe MC-1 in Megatropolis by Kenneth Niemand and Dave Taylor, the stunning look at the earliest days of the Justice Department in Michael Carroll and John Higgins’ Dreadnoughts, and a haunted house mystery unfolding in The Returners: Heartswood by Si Spencer and Nicolo Assirello.

And seeing out the year as the final strip, you’re getting the latest in the continuing adventures of Judge Death and the gang in Deliverance, where David Hine and Nick Percival have been bringing their A-game month after month. And, to celebrate this most festive time of year, what better way than to let Nick Percival show us exactly what happened when poor old Santa made the mistake of seeing if the Dark Judges had been naughty or nice this year with a wraparound cover full of ssssseasonal sssssleighing.

Nick was good enough to take time away from the drawing board to tell us all about putting together this fabulous cover…

Nick Percival: Creating a Christmas cover was a bit of a ‘bucket list’ item for me. I’d loved Christmas covers ever since I was kid, where they’d always put some snow on the comics’ logo. You knew the big day wasn’t far away when they appeared in the shops.

When Tharg gave me the opportunity, I couldn’t say no. Since my Dark Judges series, Deliverance is currently running in the Megazine, it made sense to feature them on the cover – I suppose I could have tried to tie the image into something to do with the series but didn’t really think I could find any relevant story details where that would have worked, so I opted for a stand-alone piece of festive fun.

I wanted it to be bright colourful even though it was featuring those pesky Dark Judges and I’m pretty pleased with how it turned out.

Going for a widescreen wraparound image gave me more room to focus equally on each Dark Judge doing their thing. So, we have Death in the process of breaking Santa’s neck (he must have been on the naughty list), with snowballs at the ready.

I originally intended to have half of Santa’s torso missing but Tharg wouldn’t let me go that far…shame.

Next up was Judge Fear who got a cute Judge Dredd dolly for Xmas Day but his ‘gaze into the face of fear’ routine isn’t doing much here.

Poor old Judge Mortis can’t catch a break, since each present he touches decays in front of him. I hope he kept the receipts…

Finally, Judge Fire having big problems trying to build a snow man. Not doing a good job for obvious reasons.

Overall, it was a fun piece to do and took me away from the usual chaos and carnage of the Dark Judges series, which is now time for me to get back to as the deadline Polar Express is fast approaching and none of Santa’s elves are going to do my pages for me. Bah, humbug…

Thank you to Nick for sending along his contribution to turning Christmas into a terrifying thing – you can get your Christmas Megazine from 16 December in comic shops, newsagents, and the 2000 AD web shop.

Remember kids, unlike Judge Death, it’s not too late to get yourself off the naughty list! And fear now – once Santa recovers from the broken neck (ssshh – magical healing powers), he’ll return on Christmas Eve and expects to find you sleeping!

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2000 AD Covers Uncovered – Simp-ly Steven Austin talking Prog 2211!

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week – the Simp-ly stunning cover to 2000 AD Prog 2211 by Steven Austin and colourist Chris Blythe, marking the final episode of the Judge Dredd 5-parter, Simply Normal, as written by Kenneth Niemand and drawn by Austin and Blythe.

And if you recognise the image, you’re probably right – but we’ll let Steven Austin give you the story of that as he gives us the lowdown on the cover…

Steven Austin: I was asked by TMO to come up with some ideas for for prog 2211, the issue featuring the finale to the Dredd strip I had worked on with Kenneth Niemand, ‘Simply Normal’.

I already had an idea based upon images from the 1967 Vietnam protests where demonstrators are placing flowers into the muzzles of the police rifles, I felt that the symbolism illustrated from this image was both apt and striking.

This is the Pulitzer Prize-nominated image, taken by photographer Bernie Boston during the ‘March on The Pentagon’, 21 October 1967. You can read more on it at the Wikipedia page and Boston’s obituary from the Boston Globe here.

‘Flower Power’ – photograph by Bernie Boston, taken during ‘March on The Pentagon’, 21 October 1967.

Steven Austin: However, as I was asked to come up with ‘some ideas’, I felt that I should present a variation – coz that seemed the professional thing to do – but was quietly confident that Tharg would choose this one.

I beamed across some thumbnails and thankfully Tharg did exactly that, stating it was, ‘Something a bit different’.

Initially, I was going to draw the Lawgiver coming in from the left of the image with the hand and flower on the right but from a design perspective, it didn’t work for me as the gun is supposed to be static and the hand moving in to place the flower into the muzzle – a flower which, by the way, you’ll notice is a Daisy relating to the main character – and so as the reader naturally reads the image from left to right I used some artistic license and swapped it around.

Once I was happy with the initial idea I went about drawing the final piece. Most of my work is drawn without reference but I do use it for images whereby one small error will blow the whole effect and so I photographed my own hand in the position I required and photoshopped a daisy into it.

I then blew up my thumbnail to A3 size, lightboxed it roughly, using the photo of my hand and flower for ref, pencilled it and inked it using the old brush.

Simp-ly the pencils…
And finally, the inks – Simp-les!

Once the image was complete and the inks sent off to the nerve centre the colouring of the piece is out of my hands. However, my hope was that Chris Blythe who coloured the strip would be colouring it. In fact, I realised that I’d drawn it with him in mind hence all of the background space I left – I love how Chris fills the spaces with those lovely textures he achieves.

 Well, he did, and I wasn’t disappointed – and that light on the mode selector…genius!

And there you go, cover complete from initially thoughts through to the inks – it all seems so Simp-le when the artist talks it through, but it’s a classic iconic cover in the grand traditions of the Prog.

Thank you once more to Steven Austin for sending that across – and of course, a tip of the hat to colourist Chris Blythe for the incredible job he did on this one!

You can find 2000 AD Prog 2211 in shops and from the 2000 AD web shop from 9 December.

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2000 AD Covers Uncovered – visualising visions of Deadworld with Dave Kendall

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week, it’s time to join the artist responsible for bringing Deadworld to life, in all its putreying perfection, Dave Kendall, who’s responsible for this absolute stunner of a cover for 2000 AD Prog 2210, out on 2 December –

Yes, the nights are drawing in, making it a perfect time for something spooky and scary – which is exactly what you’re going to get from the latest Deadworld series, Visions of Deadworld, by Kek-W and Dave Kendall. These Visions are new one-off visits to the world where those who do not live rule over all, spreading their contagion across the world, wiping out all life.

We open with a tale of The Boneman, whoever that might be, remembering the world that was and the Deadworld that took its place. But enough from us, let’s just let Dave Kendall, the artist responsible for filling your head with these beautifully grotesque nightmares. Over to Dave –

Dave Kendall: Tharg was running The Bone man tale first. This involved Bone man, whoever he is, exploring the post-genocide of Deadworld. He encounters the Mile high statue of Death made of teeth. A fantastic concept from Kek that nails the sheer scale of the genocide.

Rough? – They look like death warmed up!

The first Stage is rough sketches in what is now the fifth Deadworld Sketchbook. I keep all the Deadworld sketches and ideas in one place so I can easily find reference.

It’s such a big project and this story is the first real-time that Deadworld has been explored so there’s very little already designed. Almost every script requires lots of new designs either in terms of creatures, environments or characters.

I wanted Bone Man, the statue and a representation of the planet to feature. The first cover design involved close-ups of all three, however, at that point, there were lots of images of Dune and cinematic posters out there. That inspired me to produce the second sketch of Boneman towering over The Death statue and city.

cover rough number one – Up close and personal – The Bone Man wants to say hello.
Cover draft two – Death’s pre-Christmas diet was going so well.

A little bit of digital colour and a quick logo placement and I shot them off to Tharg for approval.

He agreed that the cinematic image worked well so that was what we went with.

Next stage is final pencils. It’s a relatively simple case of taking the rough sketch, creating a blue line representation of it and printing it onto Bristol board. I then pencil it in detail.

Those pencils are then scanned, given a sepia tone and printed onto smooth watercolour paper. That’s then mounted and sealed on MDF with matte acrylic medium. It’s basically a liquid PVA substance. When it’s painted over the printed pencils it stops acrylic paint seeping into the paper and dulling down.

The final stage for me is painting in acrylic. I took no photos of the stages for this but, it involved under-painting and careful build-up of mid-tones and shadow with the lightest areas painted last.

Thank you so much to Dave Kendall for opening up the Deadworld to us all! And you can all discover the deathly delightssss of Visions of Deadworld in 2000 AD Prog 2210, out right now!

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Covers Uncovered – Draw Misty For Me… Simon Davis talks the Misty Winter Special

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This winter, with the nights drawing in, it’s the perfect time for traditional Christmas ghost stories – and here at 2000 AD and the Treasury of British Comics, we’re delighted to be able to give you two perfectly creepy tales of winter chills in the brand new Misty Winter Special!

PRE-ORDER NOW >>

It’s all coming your way on 2 December, with a brand new cover from that master painter, Simon Davis (Sláine), which will look like this when you see it on the shelves…

Published between 1978 and 1980, Misty was the weekly anthology comic aimed at young girls that told tales with supernatural or spooky themes, and this winter special features two brand new tales designed to honour Misty‘s legacy and send a shiver down your spine! 

First up, there’s ‘Infection‘, written by Anna Savory (Tales from the Satanic Library) & V.V. Glass (Doctor Who), and illustrated by V.V. Glass. ‘Infection’ is a disturbing tale about how far people are expected to conform to societal standards no matter how warped the rules become! And in ‘Home for Christmas’, writer Lizzy Boyle (Scream! &  Misty) and artist David Roach (Anderson, Psi Division) unveil a harrowing ghostly home-invasion that reveals dreaded sins of the past!

But first, that cover, a stunning rendition of Misty herself by Simon Davis, who we were lucky enough to catch up with as he prepared himself for another nightmare lockdown.

As usual, everything began with Davis prepping a couple of cover roughs before getting into the far more complicated than usual process of getting the cover drawn…

I was very excited to be asked to paint the Misty Special 2020 cover as I really like that comic and any excuse to do something spooky should never be passed up.

I started with a couple of watercolour roughs and finally settled on the first one being the one I’d develop. The first idea is often the one that I go with but it’s helpful to do more as it’s not always the case. Sometimes the very act of doing variations points you back to the original and is therefore not a wasted endeavour.

I wanted it to have a wintry feel, as it was for Christmas after all, so knew there had to be snow in it and, in particular, snow-covered standing stones. The original rough had a looming goat head in the background but it was suggested that maybe a reindeer skull would be fun and a little more seasonal.

A friend of mine, Manko, is a professional artists’ model and I really wanted her to be the basis for Misty. Unfortunately, I was starting the cover in March so we were all about to go into lockdown so being able to see her to take photographs face to face was going to be tricky.

So as a way around that, I emailed her the cover rough and asked if she could take photos of herself in positions similar to it so I could decide what would work best. Manko is always incredibly collaborative and helpful with the creative process so she made sure she had the perfect red dress, wore a long black wig and even used a real human skull.

And here we have a selection of the ideas Simon worked up into the final cover image, all wonderfully posed by Manko…

What was great about this was that my rough was a little vague, so Manko’s poses were often much better. Indeed the final composition that I settled on was one she had done that was beautifully symmetrical and far more pleasing than what I had originally planned.

I paint in oils on board , using short flat brushes that give the painting a ‘choppy’ angular feel.

The Standing stones reference I used was of the Callanais Stones up on the Isle Of Lewis as I thought their angular blockiness perfect for this.

Bats were added to the composition as this is a bit of a Misty cover tradition as are pentangles … who doesn’t like a reindeer skull with one carved on?

All of which painterly brilliance gives us this, the final image sent off by Simon…

Thank you so much to Simon for sending along all of those incredible images and talking us through putting together his cover.

You can get your Christmas chill on from 2 December with the Misty Special 2020, perfect for a Christmas Stocking on the big day!

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2000 AD Covers Uncovered – The Bewitching Art Of Tiernen Trevallion For Prog 2209

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week, on the front cover of Prog 2209, out right now, we welcome back Tiernen Trevallion with the second beautiful cover from the Fiends of the Eastern Front: Constanta storyline, where the soon to be vampire discovers that family reunions can be deadly affairs and that there’s always a terrible price to pay when dealing with witches.

Since first appearing in 2000 AD in Prog 1533, Trevallion is best known for two series, the supernatural thriller with the old grumpy copper that was Absalom (with writer Gordon Rennie) and the Ian Edginton written Fiends of the Eastern Front series, beginning with the Fiends of the Western Front storyline in Progs 2111 to 2115 in 2019 and continuing this year with Constanta, where Trevallion’s stunning artwork has made the origin tale of the vamp we first met in WWI a thing of (nightmarish) beauty to behold.

We’re now nearing the end of this series, with this episode seeing the man become the beast that will eventually become the nightmare that hunts through Europe as Constanta becomes… Vampyr…

Trevallion’s artwork on this series has been a revelation, changing from that we’ve seen before, a more lush and colourful thing, perfect for capturing the rich historical nature of the story we’re reading.

And it’s a great pleasure to speak once more to Trevallion about putting together the second cover for the series – the first being Prog 2201 (and you can see the Covers Uncovered for that one here.)

Although, because he was busy hitting deadlines Tiernen sends his apologies and sent along his process images for putting together this latest cover along with a note telling us that this one was much the same as the last – sketch it, ink it, colour it.

Everything begins with that first sketch version, which looks a little something like this…

Tiernen’s pencils are just so beautifully tight on this one, everything coming together so well. Next it’s onto the inking stage, where he inks digitally…

And finally, time to add the colours that have been such a huge part of making this latest Fiends series really stand out…

Like we said, a short but sweet look into the nightmares going through Tiernen’s head there with those images for such a great cover.

Huge thanks go to Tiernen for that little look into the work that’s gone into making the cover look so damn good. And you can find that cover on the shelves and in the 2000 AD web shop right now!

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2000 AD Covers Uncovered – D’return of D’Israeli for Prog 2208!

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

You last saw D’Israeli‘s art on the cover for 2000 AD Prog 2204 with Stickleback blowing holes in the opposition – he told us all about the making of that particular cover here. And now D’Israeli‘s back with Prog 2208, for another stunning Stickleback scenario, this time featuring the ‘kaiju’ battle taking place above the streets of London… it’s out on 18 November and it looks like this…

As the new Stickleback series, New Jerusalem, continues, we’re discovering more about the Pope of crime and his previous life as Sherlock Holmes!

What will the future hold for Stickleback Holmes? Will there be anything left of his beloved London by the time this series is over? All these questions and more might be answered by the end of Ian Edginton and D’Israeli‘s Stickleback: New Jerusalem!

So, over to D’Israeli, aka Matt Brooker, to talk us through his latest stunning cover to go with the incredible art he’s dishing up for us, full of his innovative digital work.

As is usual, D’Israeli got the word from Tharg to kick things off…

Each cover begins with a brief from Tharg-in-residence Matt Smith. The theme this time was the big “kaiju” battle between Father and the Bey Golem in Stickleback: New Jerusalem Part 8. I prepared 2 roughs, one close up from street level, the second with the combatants on the horizon.

D’roughs of D’Israeli

Matt went for rough no. 2.

D’landscapes of D’Israeli – noticeably more giant monsters than Constable or Turner

The next step was to tidy up the pencils (above) and then add blocks of colour underneath the pencils (below). The colour blocks allow me to make easy selections and drop in textures, also to act as masks to stop me colouring “over the lines” when I add digital “painting.”

The next stage is to draw in blocks of colour to represent the different textures I’ll be adding to the page (I call these “shadow masks”). Each shadow mask is on its own layer, so I can use select it easily (in Clip Studio or Photoshop, hold down CMD/CTRL and click on the layer thumbnail in the Layers Palette to select the contents of a layer).

I fill each selection with a different texture, and on underlying layers I fill with different tones of grey to give the overall tone I want

A bit of painting with Clip Studio’s digital Watercolour Brushes smoothes off edges and gives a bit of volume to the forms . The last step is to add some white rimlight to make the figures “pop.”

I export the finished file as a greyscale TIFF at 600dpi, then upload it to the Rebellion server.

Again, like I said last time, it’s difficult to describe the technique I’m using in words but the videos that show me at work on the cover to Prog 1835 may give a better idea what I mean!

And again, thank you to D’Israeli for sharing all that he does and we’ve added links to those process videos so you can see just how much goes into D’Israeli’s work. And you can grab your copy 2000 AD Prog 2205 from 20 October at the web shop!

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2000 AD Covers Uncovered – Oi! T’Rex… No! Alex Ronald covers 2000 AD Regened

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week, it’s the return of the all-ages amazement that is 2000 AD Regened, where the best in comics take on the best of 2000 AD and give younger readers their first jolt of thrill power to hopefully set them on the path to becoming lifelong Squaxx dek Thargos!

Inside, you’ll see more all-ages tales featuring the early days of Judge Dredd in Cadet Dredd, the return of Psi-Judge Anderson, a wonderfully twisty and turny time tale of a Future Shock, a return to Nu-Earth with Venus Bluegenes, and a surprise return for a character not seen in the Prog for 37 years! It is, as usual, a special Prog full of zarjaz strips.

And you can get 2000 AD Prog 2206 in stores and from the 2000 AD web shop from 4 November underneath a dino-tastic cover from Alex Ronald, who’s here to tell us just how he put together this beauty…

So… over to Alex to spill the beans on this one…

Matt had given me a free hand with this, Cadet Dredd with whatever alien or monster I wanted. I used to really love all the Satanus stories so the chance to do something like that was too good to miss.

With this one I thought I’d go with a ‘High Noon’, Dredd v’s T Rex image. To tie into that idea I had drawn the first rough –

Down Fido. Good Fido. Dredd’s obedience training school gets off to a rocky start.

Reconsidering this I thought at the very least the T Rex head needed to be closer, more dangerous, filling the page.

I built up a T Rex in Z Brush and with my Dredd model I tinkered with various camera positions. For the final composition I adjusted the camera down low, and to have Dredd slightly offset.

Small Judge, big stick, bigger T-Rex – our money’s still on Dredd.

Then it was onto painting.

Rather for going more traditional earthy greens or browns for the T Rex skin I aimed for more colourful options to help it pop against the usual white background previously used on Regened covers.

Thank you for Alex yet again for giving us the look behind the curtain this time for that dino-tastic delight of a cover.

It’s the capper of a great year of Regened issues but fear not… we’ll have more for you in 2021, all kicking off with the Regened collection that’s coming out on 7 January 2021, collecting much of what’s featured in the Regened Progs including Cadet Dredd, Strontium Dog, Rogue Trooper, DR & Quinch, Finder & Keeper and more. You’ll also find a brand-new Cadet Dredd strip by Matt Smith and Neil Googe, all to be found under this cover from Neil Googe…

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2000 AD Covers Uncovered – The spider-man is having Dredd & Anderson for dinner tonight

Every week, 2000 AD brings you the galaxy’s greatest artwork and 2000 AD Covers Uncovered takes you behind-the-scenes with the headline artists responsible for our top cover art – join bloggers Richard Bruton and Pete Wells as they uncover the greatest covers from 2000 AD!

This week we welcome artist supreme Patrick Goddard to Covers Uncovered with his great cover for 2000 AD Prog 2205, out on 28 October – get it from the web shop!

It’s one to delight the arachnophobes amongst you, with Patrick giving us Dredd and Anderson having a little spider trouble – as seen in the second and final part of the Dredd tale, ‘They Shoot Talking Horses, Don’t They?‘ by Rob Williams and Dan Cornwell.

Patrick’s been part of 2000 AD since Prog 1220 back in 2000. His first credit was the Sinister Dexter story Lucky and since then we’ve seen his work on Aquila, Armitage, Savage, Mean Machine, Judge Dredd, Judge Anderson, and the raunchy recent adventures of Devlin Waugh in Judge Dredd Megazine.

This latest cover, as Patrick says, was pretty simple, with Tharg giving him a brief to scare the bejesus out of anyone with a spider problem… so, over to Patrick to give you the skinny on his latest bit of cover magic, as coloured by his comrade in arms, Dylan Teague…

Tharg asked for an upward shot of the pair hanging in the well with the threat of spiders coming towards them. There was no need to play with a variety of compositions so just did what I could.

How many ways can Patrick put Dredd and Anderson through the mill this time?

I had some ref of Dan’s artwork to help and played around with some ideas of say, having the Spiders huge in the foreground with Dredd and Anderson pretty small in the back ground. 

Tharg went for the mid shot of the figures so I used a bit of artistic license to add some webbing around them so I could show the spiders in more detail crawling towards them.

Uh, Joe, there are some nasty looking squiggles coming to get us…

I did a quick sketch of the figures quite small (as it’s easier for me to get the scale right), blew it up on my photocopier and lightboxed the pencils onto the art board.

Oh hell, bring back the squiggles, I prefer the squiggles Joe!!

Add some ink and it’s all done!

And then it’s over to the master colourist Dylan Teague who did a great job.

I hope that’s ok? It’s always pretty straightforward when Tharg knows what he wants.

Ok? Oh, it’s just perfect. Fear the 8-legged nightmares everyone!!!

Thanks as always to Patrick for giving us a look inside making this latest wonderful looking cover. If you’re after more Goddard goodness, be sure to check out the cover process for Prog 1865, Prog 2185, and Prog 2021. And be sure to follow him on Twitter – @PaddyGod1.